2 July 2016 § Leave a comment
This review is also posted in arts & culture magazine CELLOPHANELAND here
There is probably little point in making any sort of critical analysis of the latest Royal Academy Summer Exhibition. It is what it is, which to be honest is rather a mess. Pretty much every gallery is hung by a different curator and whilst it is interesting to see what they have done it is ultimately beside the point.
The whole show should rather be taken more at face value – an annual opportunity for the talented, enthusiastic, amateurish and hopeful to apply to have their work on the walls of the academy. Here they can rub shoulders with the latest pieces from the Royal Academicians in a gloriously anarchic jumble.
This years ‘co-ordinator’ is the sculptor Richard Wilson best known for 20:50 – the oil filled installation at the Saatchi. He has invited twenty artistic duos to present their work within this years exhibition. We therefore have Gilbert & George with Beard Aware and Jane & Louise Wilson in the lobby stairwell with Chernobyl.
There are other obvious duos like Jake & Dinos Chapman, Eva & Adele, Allora & Calzadilla, Bernd & Hilla Becher and Tim Noble & Sue Webster. Their presence however serves no real curatorial purpose and they are lost within the show – at best it is simply of interest to see some of their work.
Almost all of the pieces are of course for sale and it is quite a good opportunity to pick some work for your own walls. Prices of course vary considerably from a few hundred to a few hundred thousand, and for the uninitiated it is not always easy to spot the difference!
For the first time the works are available to browse and buy online and we would highly recommend taking a look online before the show and before purchasing (link here).
For our part we loved a little George Shaw edition (we highly recommend his National Gallery exhibition reviewed here) , Marguerite Horner’s enigmatic painted landscapes and Tom Hunter’s Rose prize-winning photograph Winterville. Harry Hill had one of his witty celebrity-oriented works – a tattooed David Beckham (sold but we hear High House Gallery has work available).
With rather more to spend Gert & Uwe Tobias’ had two spectacular works and there was a bright Gillian Ayres, which all seemed reasonable value despite the big ticket prices as did Rose Wylie’s Spider, Frog & Bird.
The floor to ceiling ‘salon’ hang – which is the norm at the Summer Exhibition – makes for difficult viewing, but it is not often that so much (varied) talent is on view at the same time. Take it slowly and concentrate on works that catch your eye – we have posted a selection of those that caught ours – and you may just have a very enjoyable visit.
The RA Summer Exhibition runs until 16 August 2016
For more information visit www.royalacademy.org.uk
18 June 2016 § Leave a comment
“The longer I spend here, the earthier and more profane the collection gets. Even the religious paintings eventually get down from their high horse and meet you on your level. It’s all sex, death, bowls of fruit and flowers, and the odd landscape. That may sound somewhat dismissive, but it’s kept artists busy for 700 years and continues to do so.” George Shaw
George Shaw has spent the last two years as the latest Associate Artist at the National Gallery. Provided with a studio at the gallery his brief is to produce work that responds to art in the collection. A Turner Prize nominee in 2011, Shaw is well known for his paintings of the decaying and depressing post-war housing estates of Tile Hill, Coventry, where he grew up, and for his idiosyncratic medium – the sticky Humbrol enamel paint.Famously used for children’s Airfix kits, the use of this unusual paint has led to the assumption that he used to paint these models as a child. Shaw quickly puts us straight telling us that he never would have played with such mundane toys “I was upstairs trying to be a Velasquez or a Goya”.Living on a daily basis with artworks that that has admired throughout his career (“I still have my Thames and Hudson book on the National Gallery that my mum gave me for a birthday present in the early eighties” ) his first response to the residency was a series of charcoal sketches -14 self-portraits in the various poses taken up by Christ in traditional Stations of the Cross compositions, followed by other sketches and watercolours of trees.Positioned as the first thing the visitor encounters on entering the exhibition, Shaw encourages us to read his work as carrying other, deeper ideas, rather than being just a ‘rehash’ of traditional landscape imagery. Even woodland in the National Gallery paintings would be redolent with religious meaning – lone trees for example being instantly recognisable by a contemporary spectator as the crosses of Calvary. Indeed in illustration Shaw provides us with a stark and beautiful monochrome watercolour of three bare trees.Alluding to the theme of woodland in the collection, ‘My Back to Nature’ resonates with Shaw’s own experience of walking in the woods as a teenager, with the feeling that “something out of the ordinary could happen at any time there, away from the supervision of adults”. Looking through the National’s collection many of the paintings feature mythical events involving incidents outside the accepted norms of behaviour, including violence, illicit sex, and drunkenness that are in similar locations – woodlands near a town which we perhaps see, idealised, in a misty or hilly backdrop.Like Cézanne’s Bathers, Velázquez’s Venus, and all the other great nudes in these halls, in the pastoral tradition, woods and fields are places of desire and dalliance – scenes of intense human drama. Perhaps the moment has just passed or is just about to happen. For Shaw it is a mark on the ground, trampling of leaves, the torn pages of an porn magazines. The School of Love by Correggio, is of Venus, Mercury and Cupid in a leafy bower – Shaw’s version is a striped mattress discarded in a clearing. In another a tree trunk drips with red paint: someone’s rage or someone’s private message.A year in to his residence Shaw ordered three large canvases – exactly the size of the Titian Metamorphoses in the gallery. His painted responses to them show firstly a dark and erotic clearing, in another the tree assaulted with red paint and finally a Titian-blue tarpaulin, dangling ghost-like from the arm of a tree. It is easy to see the religious parallels: life, death and the resurrection.A kid from a suburban housing estate gets unlimited access to the National Gallery’s collection. This was George Shaw’s dream come true and through this perhaps unlikely interaction comes an inspirational exhibition of a special quality.George Shaw: My Back to Nature, National Gallery London is on until 30 October 2016
For more information visit www.nationalgallery.org.uk
This post also appears on www.cellophaneland.com
20 November 2013 § 2 Comments
‘Exciting’ and ‘contemporary art‘ are not words that you would usually associate with the word ‘Cotswolds‘ – Land Rovers, Labradors and Leaders of the Conservative party perhaps come to mind more readily. Other than a mere handful of galleries in Oxford and Bristol the whole region has a desperate dearth of places where one can reasonably claim to be able to enjoy the type of contemporary art which one could genuinely define as being ‘innovative’ or ‘fresh’.
Fortunately this has now changed. The new owners of an historic grade II listed Victorian gothic mansion (apologies for the mouthful, but that’s exactly what it is) have opened a new contemporary art space, High House Gallery. For the last 18 months they have been bringing all that is innovative and interesting from the London art scene out in to the (contemporary) artistic wilderness that is ‘Poshtershire’.
Located in Clanfield, close to the border between Oxfordshire and Gloucestershire the indoor space has a rotating exhibition programme whilst the formal gardens have hosted garden displays of contemporary works – do not think stone and bronze, instead how about concrete, glass, steel and whalebone (!).
Exhibitions so far have mostly tented towards the pick of recent graduates from top London art colleges such as Chelsea, St Martins, Goldsmiths and RCA. Lindsey Bull, Gabriella Boyd, Tom Howse and are excellent examples of HHG artists that should go far.
Furthermore the gallery not only consults on all aspects of contemporary art but holds a stock of top international artists. Quality pieces are currently available to buy from the likes of George Shaw, John Stezaker, Ryan McGinley and Mariah Robertson.
The big news for the start of next year is that the opening exhibition of the 2014 season features a touring version of the highly regarded Griffin Art Prize. Fitting well with the gallery ethos it is limited to recent (5 year limit) graduates. The shortlist for the prize is currently on show at the Griffin Gallery in West London. For those who have not been able to see the show there its excursion out to the Cotswolds is well worth catching.
Visit the High House website to register for news of new exhibitions and events by email, Facebook or Twitter.
Griffin Art Prize 2013 touring show is at High House Gallery 16 January – 16 February 2014.
- Elizabeth Price wins £60,000 Contemporary Art Society Annual Award (akickupthearts.wordpress.com)
- Virgilio Ferreira – Uncanny Places at High House Gallery (akickupthearts.wordpress.com)
- Griffin Art Prize 2013 Touring Venues Announced (akickupthearts.wordpress.com)
- Contemporary art in London (paulsmith.co.uk)
6 July 2011 § 1 Comment
My schedule for visiting exhibitions tends to follow one of two scenarios. First is to visit at the very earliest opportunity – usually on the opening day or two. The other, equally frequently, is to realise the closing is approaching fast and make some panicky last minute plans. That was indeed the case with George Shaw. Not greatly attracted to the hike out to Peckham I delayed several times only to realise it was the closing weekend.
The Sly and Unseen Day turned out to be well worth the expedition in to the wilderness (only joking Peckham residents). The show featured Shaw’s trademark works – scenes from the urban lansdcape of his childhood – the dreary postwar Tile Hill Estate in the West Midlands. From this source the subjects chosen are removed a further stage – we see the remote, unnoticed and ‘unseen’; old metal fences, graffiti-ridden garage doors, park fences, workmens sheds and muddy puddles. The sky is almost invariably a dull grey, it looks like it has just rained – or is just about to. Nobody is present.
Painted in Humbrol enamel, a paint more familiar for those making airfix planes than fine art, the colours are muted. The scenes become strangely detached, the gloss finish also emphasising the depressing damp. The absence of people creating a sense of displacement and dream.
As with many of the best artists there is no need here to read the artists statment or the gallery notes – the message is clear. There is a sense of overwhelming nostalgia which seems to almost seep from the canvas. These are fragments of memory within which there is comes a pervasive sense of the post-war history upon which modern-day Britain is built. Is this the present or the past? It could be either or both, the art hovers in its own space.
Another artist from the Wilkinson Gallery stable, to which Shaw belongs, commented to me that it was very English. It is, but the themes addressed are so universal that I cant imagine even, say, a Japanese tourist, not getting the implied messages. This art – good art – is universal as a Hopper diner or a Ruscha landscape; one instinctively gets the idea.
George Shaw is one of the selected artists for this years Turner Prize. Can a painter be a favourite to win? Probably not, but he should certainly be a strong contender. Pity the exhibition is now closed – but keep your eyes peeled for his work!
George Shaw at the South London Gallery until 3 July 2011 (now closed).
Represented by the Wilkinson Gallery. Their next show Where Language Stops opens on the 15 July 2011.
- George Shaw: The Sly and Unseen Day, South London Gallery, London, review (telegraph.co.uk)
- Next generation turns its back on Emin and Hirst’s conceptual artworks (guardian.co.uk)
- Turner prize 2011 shortlist: Humbrol enamels versus bath bombs and lipstick (guardian.co.uk)
- George Shaw: In Conversation (rikrawling.wordpress.com)